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Greeoene oeto specifically#the HeGre we see how might add a bassline a simple s4ection of chords, usin#g 7toeh
aoend (7aoe). II-V-I-VI in C (Dm7-G7-Cmaj7-A7). We begin with the
oe3rd voEicings just root, 3rd or root, 7th and Using these shapes, we progress to a three-over-two rhythmic exercise (7b), before
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on to a walking bassline in quarter notes (crotchets) wiÓth semitone approache in w7ith syncopated chords in the treble (7c), ending with what Ted refers to as ‘active’ bass motion, where the melodic action is in the bass, rather than on top of the chords (7d).